Artykuł zawiera teoretyczną propozycję analizy procesu mediatyzacji polityki w ujęciu instytucjonalnym i kulturowym. Dotychczasowe badania procesów mediatyzacji polityki ograniczają się głównie do śledzenia wzajemnych relacji aktorów medialnych i politycznych, nie skupiając się na roli odbiorców komunikacji politycznej. W celu przełamania tego podejścia proponuję upodmiotowić odbiorców w procesie badania mediatyzacji polityki. W tym ujęciu mediatyzacja polityki rozumiana będzie jako proces transformacji komunikacji politycznej wywołany zmianami w mediach, platformach mediów społecznościowych i technologicznej infrastrukturze komunikacji. Dlatego, z jednej strony, aby wychwycić jak formowana jest aktywna publiczność i jak wchodzi w relacje z organizacjami medialnymi oraz politycznymi, wykorzystuję założenia teorii strukturacji w zakresie mediatyzacji. Z drugiej strony, dokładam podejście krytyczne, które pozwala na ciągłe śledzenie jak powstaje władza mediów, jakie są jej komponenty, w jaki sposób następują jej przepływy, zakłócenia i przejęcia.

Cognitive states are typical of students’ educational activity, which is accompanied by high activity of cognitive processes. Management of this activity is impossible without the knowledge of the structure, function, and mechanisms of actualization of cognitive states in various learning situations. The research relevance of the problem of cognitive states in the context of students’ intellectual activity is due to their unique role in the regulation of the thinking process, maintaining a  steady focus on the solution of the problem within a certain period of time. The purpose of this article is to study the structure of the cognitive states that arises in the process of solving intellectual problems (through the example of carrying out R. Amthauer’s intelligence structure test). Leading methods to the study of this problem were tests with standardized questionnaires and retrospective self–reports. According to the results of factor analysis, ten key factors underlying the structure of the typical cognitive state of interest/mental stress have been identified. A system–forming factor of this condition has been emphasized, which is an “attitude” to intellectual activity in the context of the overall semantic orientation of the subject. The obtained results can be of interest to researchers in the field of psychology of emotions as well as to specialists involved in the diagnosis of students’ intellectual abilities.

The article is devoted to consideration and characteristics of the ways of formation and development of the theoretical base of musical textology. The purpose of the article is to identify and characterize leading approaches to key concepts in the analytical apparatus of musical textology. The article uses a set of musicological approaches, among which the system-interpretive and comparative ones have a leading role. It is established that the problems of a text and text creation in music are becoming central in an increasing number of works representing original musicological and cultural concepts, and also often become the focus of various discussions. It is emphasized that the concept of the musical text as central receives different interpretations. Each of the researchers, who focuses attention in their works on the text as an object of study, understands this phenomenon differently, highlighting these or those its content and structural features. Emphasizing the views that are represented in the works of Levon Hakobyan, Mark Aranovskij, Alexandra Samojlenko, Andrew Denisov, allows us to study the musical text as a complex, multi-level, systemic phenomenon that has its own semantic structures, an autonomous logic of development, unique properties. Among the latter, musicologists single out fixation, organization, meaning productivity, duality, transitivity, equivalence, linearity of unfolding in time, the possibility of multidimensional organization of sound texture, variability depending on interpretation, etc. It is their understanding that determines the ways of comprehension of the musical text. There are revealed the mechanisms of the generation of the musical text, both external and internal, which allow it to acquire the status of a significant, possibly real space. At the same time, the musical text appears as a combination of the «expressed» (semiotic structure expressed in signs) and what is meant (meaning), caused by the realization of the function of musical- sign and sound subject-creative activity. The special attention in the article is paid to the definition of levels of the musical text, which are important for understanding its structural organization. It is established that the relationship between the linear and vertical aspects of the text through their understanding is the main characteristic of the text as a structure.